Tracing Expression in Merleau-Ponty
Aesthetics, Philosophy of Biology, and Ontology
Publication Year: 2013
The French philosopher Renaud Barbaras remarked that late in Maurice Merleau-Ponty’s career, “The phenomenology of perception fulfills itself as a philosophy of expression.” In Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology, Véronique M. Fóti addresses the guiding yet neglected theme of expression in Merleau-Ponty’s thought. She traces Merleau-Ponty’s ideas about how individuals express creative or artistic impulses through his three essays on aesthetics, his engagement with animality and the “new biology” in the second of his lecture courses on nature of 1957–58, and in his late ontology, articulated in 1964 in the fragmentary text of Le visible et l’invisible (The Visible and the Invisible). With the exception of a discussion of Merleau-Ponty’s 1945 essay “Cezanne’s Doubt,” Fóti engages with Merleau-Ponty’s late and final thought, with close attention to both his scientific and philosophical interlocutors, especially the continental rationalists. Expression shows itself, in Merleau-Ponty’s thought, to be primordial, and this innate and fundamental nature of expression has implications for his understanding of artistic creation, science, and philosophy.
Published by: Northwestern University Press
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I owe special thanks to Deniz Durmus, currently a doctoral candidate in philosophy and women’s studies here at Pennsylvania State University, who freely offered me any assistance I might need with the preparation of the manuscript of this book. Since its chapters were written, in the margins of teaching and other academic duties, over a span of three ...
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But there is a “good ambiguity” in the phenomenon of expres-spontaneity which gathers together the plurality of monads, the In the “Prospectus of His Work” submitted to the Collège de France in 1952–53, on the occasion of his candidacy for the chair in philosophy, Merleau- Ponty outlines the guiding problems of his work from The Struc-...
Part 1 - Expression in Merleau-Ponty’s Aesthetics
Chapter 1 - Primordial Perception and Artistic Expression: Merleau- Pontyand Cézanne
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Now, old as I am . . . the color sensations which create light in my canvas or defi ning the edges of objects where they delicately touch other objects, with the result that my image or picture is Although Merleau- Ponty’s remarks on Cézanne’s painting in the chap-ter “The Thing and the Natural World” in Phenomenology of Perception ...
Chapter 2 - Expression, Institution, and the Field: A Searching Itinerary
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One will thus understand by institution those occurrences of an to which a whole other dimension of experience will have sense, will form a thinkable sequence or a history—or else the occur-rences that deposit a sense within me, not in virtue of survival and residue, but as an appeal to a sequel, exigency of a future....
Chapter 3 - Painterly and Phenomenological Interrogation in “Eye and Mind”
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Small wonder that a Merleau- Ponty . . . decided to investigate the traces of the painter at the foot of Mt. Sainte- Victoire, and spring from the chiasm . . . which consists of the encounter of spirit. In this play of perfected encounter, the subject who looks itself to be also one that “envisages.” Truly creative perception ...
Part 2 - Expression in Animal Life
Chapter 4 - The Expressivity of Animal Behavior: Embryogenesis and Environing Worlds
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...remain “non- intuitable” [un- anschaulich] because they are “super- intuitable” [überanschaulich]. All living beings, plants adult, and of which we know that it shelters a unitary lawfulness, Of the three consecutive lecture courses on nature that Merleau- Ponty offered at the Collège de France between 1956 and 1960,1 it is the second ...
Chapter 5 - The Expressivity of Animal Appearance and of Directive and Instinctual Activities
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...precipitate attempt at explanation is silenced by this profusion. there is protective coloration, there is also warning coloration, and there is, to be sure, deceptive similarity; but they are all reduced to single cases in which we fi nd a utilitarian sense of striking. But what does this one- sidedly selected cabinet of curi-...
Part 3 - Expression in Merleau-Ponty’s Ontology
Chapter 6 - The Role of Expression in Merleau-Ponty’s Dialogue with the Rationalists
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...basis of the infi nite which made major rationalism what it was, should not be taken to express nostalgia . . . What separates us Philosophy owes to Merleau- Ponty a rich, subtle, and insightful reading of Descartes who is, for him, the foremost partner in his sustained philo-sophical dialogue with the seventeenth- century rationalists. This dia-...
Chapter 7 - The Irreducibility of Expression: Merleau-Ponty’s Ontology and Its Wider Implications
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...itself calls for its “expression,” but a “pure” expression, i.e., dimension or Eröffnung of an immense page spread [feuillet] of being, and across it of being itself speaking within us (“pure” —Maurice Merleau- Ponty, Notes de cours sur l’origine de la géo-In the “Second Sketch” of “Nature and Logos: The Human Body,” which ...
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...propriation? . . . I wish for and practice the dispossession of the world . . . Ecstatic, fervent, rare . . . dispossession admires lucidly The trajectory of Merleau- Ponty’s thought, with its complex philosophical and interdisciplinary engagements, which are at least partially intercon-nected by the thematic of expression, is oriented toward re- visioning ...
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Index of Persons
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Index of Topics
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Page Count: 184
Publication Year: 2013
Volume Title: 1
Series Title: SPEP
Series Editor Byline: Tony Steinbock